Relevant bibliographies by topics / Architectural drawing

Academic literature on the topic 'Architectural drawing'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 August 2024

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Journal articles on the topic "Architectural drawing"

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Mulla, Sarosh, Aaron Paterson, and Marian Macken. "Encountering drawing." Drawing: Research, Theory, Practice 8, no. 1 (April 1, 2023): 117–28. http://dx.doi.org/10.1386/drtp_00110_1.

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This project report outlines the research-led exhibition, Drawing Room – part of an ongoing collaborative design research project focusing on drawing – exhibited at Toi Moroki Centre of Contemporary Art Christchurch (CoCA), New Zealand. The research interrogates drawings that move – made by light, shadow and animation – and our encounters with drawings through the manipulations of scale and virtual reality (VR). The research investigates the relationship between scale, moveable drawings and bodily engagement in architectural drawing and the speculative nature of VR in architectural drawing. The research places architectural drawing within an expanded practice – shifting its generation from the architectural office – by way of critiquing the normative ways of representing the discipline of architecture. This project demonstrates that the making of architectural drawings and their encounter engages the entire body; in encountering these, we occupy and inhabit the spaces of these drawings. The project investigates the influence of speculative drawing practices on the conceiving and developing of developing architectural built work through the use of exhibition.
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Paterson, Aaron, Sarosh Mulla, and Marian Macken. "Drawing the room | Drawing within the room." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 261–75. http://dx.doi.org/10.1386/drtp_00036_1.

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This project report outlines ongoing collaborative design research that addresses aspects of architectural drawing, in particular scale and time. This project is discussed through the lens of the inhabitation of drawing: in both the making of, and encountering, drawing. ‘Drawing the Room | Drawing within the Room’ (2019) couples projective drawings with post factum documentation – or creative post-occupancy data – of built houses. Using motion capture technology, the movements of inhabitation are captured and translated to line work animations. The resulting drawings of inhabitation are projected full-scale, exhibited in the space of the architectural office, the site of conceiving and production of both drawings and architecture. Using the architectural office as the space of installation and exhibition presents a practice for acknowledging and engaging with these spaces of creativity, beyond casting the office as commercial space. The project explores contemporary performative drawing practices within architecture and considers the ways in which bodies and drawings interact. This work highlights the fundamental importance of lines within architecture, not as demarcation, divider or indexical references, but as temporal traces of bodily movement.
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Schaeverbeke, Robin, and Hélène Aarts. "‘Architectural literacy’: Functions of architectural drawing." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 83–97. http://dx.doi.org/10.1386/drtp_00052_3.

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‘Literacy’ refers to the ability to both assign meaning to – and to create messages. Transposing this concept to ‘architectural literacy’ could refer to the assigning of meaning to architectural messages and the ability to create such messages. ‘Architectural literacy’ suggests that architects employ a distinct language to communicate, process and design spatial propositions and that the knowledge of such literacy could be of importance to a broader community. In architectural practices, drawing is used to discourse about forms and spaces. Our approach to disassemble architectural drawings in a set of functions, aims to add understanding about a specific ability to learn and understand architecture. Disassembling architectural drawing in a set of functions stems from a reflective conversation upon our practices as drawing teachers in architectural faculties. In an attempt to (re)structure the didactic foundations of our own teaching practices, we started discussing the kind of drawings architects resort to. This research gradually revealed a set of distinct, yet interrelated functions and activities. We introduce architectural drawing as a specific faculty of a large field of drawing practices, which revolves around the convergence of perception, imagination, disclosure and artistic expression. Learning about the distinct activities and abilities to process forms and spaces provides a knowledge base to explore foundations of architectural reasoning.
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Murray, Shaun. "Drawing architecture." Design Ecologies 11, no. 1 (June 1, 2022): 11–33. http://dx.doi.org/10.1386/des_00014_1.

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Can we surpass the representational nature of architecture drawing to consider and discuss the agency of architectural drawing in process and result? Over the course of three years from 2019, a cohort of architect–drafters, architect–theoreticians and a curator are meeting every six months in a reflective exchange to discuss the production and exhibition of a collection of drawings and drawing-related artefacts. The varying cast of the bi-annual symposia are participants from the United States, Canada and Europe including Michael Webb, Perry Kulper, Laura Allen, Bryan Cantley, Nat Chard, Mark Dorrian, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Mark Smout, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Surpassing the representational nature of architecture drawing, a group of architects and I consider and discuss the agency of architectural drawing in process and result. Drawing architecture implies materializing an architecture within the drawing, where it can be sought, found and experienced. This refers to an action in the present progressive, an action by the author in the process of bringing into the world through drawing – architectural research through drawing. The artefacts, as drawings, that we are looking at are an end in themselves and not a preparatory means to build an environment as in how drawings are used in architectural practices for buildings. These symposia aim to reveal and come closer to the individual agency of each practice within the drawn discipline of architecture, to establish a way in which we can show this agency in an Exhibition at Montreal Design Centre in August–December 2022. The bi-annual symposium days were structured by round-table conversations and discussions that take place based on drawings or drawing-related artefacts brought in by the participants. In ‘Drawing architecture’ Session 1 in New York, we had an in-depth introduction of each participant’s practice with Michael Webb, Perry Kulper, Bryan Cantley, Nat Chard, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Participants expanded on their bodies of work, tools and the nature of the drawing practice. For ‘Drawing architecture’ Session 2 in London, we sharpened the conversation between the participants by: (1) establishing an angle from which we talk through the artefact(s) (drawing or drawing practice-related artefact), each participant from the standpoint of their practice. Angle: Talking through the drawing or drawing practice-related artefact, can you expand on the agency of the drawing (practice) within the discipline of architecture? Questions that might be helpful: (a) How does the drawing work as a tool of investigation (technique of leveraging knowledge). (b) Where and what is the architecture within the resulting drawing/artefact? When is the architecture in the process? Is there architecture within the drawing? (2) By placing the drawing or artefact central during the symposium talk and organize a group conversation around it. It might be that you bring one or more current drawings/artefacts enabling you to expand on the specific drawing practice investigation. The artefact might be resolved or unresolved, finished, ongoing or just starting and in the thick of things. The presence of the drawing allows the group to come closer to and understand the agency of the artefact itself, supported by talking us through and unpacking the artefact.
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Li, Wei. "Architectural Design with Autocad." Advanced Materials Research 926-930 (May 2014): 1692–95. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.1692.

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Architectural design is a creative work, the final results of it is image and visually expressed in the form of drawings. AutoCad technology and architecture design are the combination of computer application technology, especially the inevitable outcome of the development of computer graphics technology. Usage this software is not only able to design construction drawing with specification, beautiful buildings, and can effectively help designers improving the design level and work efficiently, this is the manual drawing. Mastering the AutoCad architectural drawings in other words is to have the advanced and standard of architectural design language tools.
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Lawson, B. "Reekie's architectural drawing." Engineering Structures 18, no. 8 (August 1996): 655. http://dx.doi.org/10.1016/0141-0296(96)87032-5.

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Ma, Yun, and Shan Hong Zhu. "Architectural Design Using AutoCad and Sketchup." Applied Mechanics and Materials 556-562 (May 2014): 6379–82. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.6379.

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Architectural design is a creative work, the final results of it is image and visually expressed in the form of drawings. AutoCad technology and Sketchup software combined with architecture design are the combination of computer application technology, especially the inevitable outcome of the development of computer graphics technology. Usage of the two softwares is not only able to design construction drawing with specification, beautiful buildings, and can effectively help designers improving the design level and work efficiently, this is the manual drawing. Mastering the AutoCad and SketchUp architectural drawings in other words is to have the advanced and standard of architectural design language tools.
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Kavas, Kemal Reha. "Environmental representation: Bridging the drawings and historiography of Mediterranean vernacular architecture." Journal of Human Sciences 14, no. 4 (November 13, 2017): 3472. http://dx.doi.org/10.14687/jhs.v14i4.4758.

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Architectural drawings, which are projections of spaces on a paper surface, can be categorized according to the projections’ directional and temporal relation with the represented space. A projection becomes a documentation when it departs from an existing spatial organization for recording it on paper. The projection serves the design process when it departs from the present to foresee a spatial proposal in the future. While the former records the present within limited interpretive range, the latter is more constructive. While these two types of projections are known widely, there is another highly interpretive type of projection, the potentials of which, are generally underestimated. As the architectural historian’s tool, this third projection type represents bygone architecture. The task of this drawing, which is one of the least questioned issues of architectural history, is to restore an incomplete image by referring to material and textual sources. This drawing type contributes to the methodology of architectural historiography while conceiving, explaining and representing space.For illustrating this situation, this study analyzes the vernacular settlements and their environmental integration because this selected context reveals the interpretive nature of the third type of projection in a successful way. In this framework, the cut-away axonometric is considered as an appropriate drawing method for uncovering the integrity between architecture and its site or culture and nature. The outcome of this theoretical insight into the prolific relations between drawing and architectural history is coined as “environmental representation.”In history architectural products have been integral components of the environment. Then, the architectural representation of historical buildings through drawings becomes critical since the majority of architectural drawings tend to isolate buildings from their environment. This conventional representation of historical architecture has been the dominant tool of typological analysis. Typology, which is intertwined with plan drawings, categorizes historical buildings according to their spatial, structural and material organizations and disengages the buildings from their socio-cultural and environmental context. If this methodological problem of typology is regarded as a problem of drawing, a new mode of “environmental representation” can be proposed.This study proposes “environmental representation” of architecture through cut-away axonometric. This graphic proposal is based upon the theoretical references of “environmental aesthetics”, which is an interdisciplinary field analyzing the participatory human engagement in environment. “Aesthetics,” as a term, defines this bodily engagement into environment through the use of all human senses. In this theoretical framework this study challenges the assumptions of scientific theory for architectural representation of the “abstracted object” and proposes an alternative method of “environmental representation” on the basis of “aesthetics”. Within this scope, the proposed cut-away axonometric drawings produced by the author is analyzed in order to represent exemplary historical contexts of architecture selected through the vernacular settlements of the Anatolian Mediterranean.
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Perin, Gavin John, and Linda Matthews. "Organizing Architectural Atmospheres." International Journal of Creative Interfaces and Computer Graphics 10, no. 1 (January 2019): 16–29. http://dx.doi.org/10.4018/ijcicg.2019010102.

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The article outlines an alternative type of digital drawing technique for architecture called chromatic mapping. This new procedural drawing technique redefines the theoretical frameworks of digital design practice by manipulating the formal and spatial capacities of data captured in the image. The ensuing discursive and practical changes to architectural design practice deliberately leverage the ability of image-based software to gather, collate and modify real-world data. The pixel is central to chromatic mapping because it is the medium that translates form and space into color. This alterative definition of form as visual data contests the orthodoxy that only the line can delineate form and reactivates the issues surrounding the role of the image in architectural production. While maintaining digital architecture's ambition to reduce the procedural and formal consequences of postmodern semiotics, this new drawing technique recalibrates the part images play in architectural production by activating image data to foreground drawings that simulate architecture's atmospheric qualities.
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Slavina, T. "DESIGN DRAWING – A REVOLUTION IN RUSSIAN ARCHITECTURE." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 8, no. 10 (August 28, 2023): 78–84. http://dx.doi.org/10.34031/2071-7318-2023-8-10-78-84.

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The art of design drawing dates back to canticism. Russian architecture did not know design drawings: the clergy of pre-Petrine Russia resisted design drawings; A different situation arose when the autocrat took the construction business into his own hands. Peter I became acquainted with design drawing in England during the Great Embassy. By royal power, he introduced design drawing into practice in Russia, along with the concepts of “architectural tour, plan, facade, proportion, scale, perspective,” as well as with the attributes of the profession - drawing paper, drawing board, compass, etc. Architect of a new formation began to draw and draw. The article examines the importance of a design drawing in the creative process: the separation of design and construction, the ability to clarify plans with a sketch, replication of a project (“model design”), etc. The design drawing had such a radical impact on the development of Russian architecture, that we have the right to regard its appearance as a historical turning point in the profession of “architect” and as the beginning of the profession of “urban planner”. Methods of architectural education have changed. The design drawing is especially important in urban planning: the general plan of the city made it possible to model its structure and composition and implement Peter’s idea of regularity.
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Dissertations / Theses on the topic "Architectural drawing"

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Kauffman, Jordan Scott. "Drawing on architecture : the socioaesthetics of architectural drawings, 1970-1990." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/97376.

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Thesis: Ph. D., Massachusetts Institute of Technology, Department of Architecture, February 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 391-422).
This dissertation examines a period in the late twentieth century when architectural drawings provoked a profound re-evaluation of architecture. It does so through novel research of the individuals, galleries, institutions, and events-and the networks that originated therefrom-that drove this reappraisal by shifting the perception of architectural drawings. During the 1970s and 1980s, for the first time, architectural drawings became more than an instrument for building. Prior to this period, except for scattered instances, buildings were considered to be the goal of architectural practice; architectural drawings were viewed simply as a means to an end. However, through a confluence of factors architectural drawings emerged from this marginal role. Drawings attained autonomy from the architectural process and were ultimately perceived as aesthetic artifacts in and of themselves. No attention has been given to this shift, and recovering this period's forgotten history reveals a rich and complex tapestry. Research unearths interrelated individuals, galleries, institutions, and events outside of practice that impacted the perception of architectural drawings during this period. This reveals the uniqueness of this period, for at no other time was debate generated in the same way, since at no other time did the necessary structures exist to support this change. During this period, architectural drawings became the driving force of architectural debate, not for what architects put in them, but for what others asked them to be and saw in them. Through exhibitions that emphasized drawings in and of themselves, through collectors and galleries, through the development of a market for architectural drawings, and through the interrelation of these, all of which this work reconstructs for the first time, the role and perception of drawings fell between and among aesthetic, artistic, architectural, commercial, conceptual, cultural, and historical understandings. It was this shifting that drove questioning during this period of nearly all facets of architecture.
by Jordan Scott Kauffman.
Ph. D.
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Koliji, Hooman. "Drawing as Landscape Architectural Scholarship." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/33077.

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Considering the vital role that drawing plays in conceiving buildings and landscapes, the question of â knowledgeâ in relation to visual representations becomes a matter of importance. The conventional view of drawing considers it a passive and neutral means to communicate mental concepts in visual form. The present study, however, views drawing as an essential vehicle that both enlists our critical reasoning faculties, as well as engages our senses and imagination in an integrated way to generate new knowledge.

As a means to acquire architectural/landscape knowledge, drawing becomes an essential vehicle for scholarship in the field. Depending on the circumstances, drawing can capture or cast (or both). When the drawing is a recipient of the external world, it captures or catches the qualities of an actual place. When the drawing is of a space that perhaps will exist, it can bring out or cast ideas, thoughts, or sensations to an external world and eventually to that envisioned space.

After a discussion of the commonalities of drawing in architecture and landscape architecture, the present study concentrates on areas that distinguish landscape drawing from architectural drawing. In the end, the personal experiences of the author, in which the drawing served both as capturing and casting mechanism, is briefly depicted.
Master of Landscape Architecture

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Crenshaw, Andrew. "The architectural image Finnegans Wake and the text of drawing." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23013.

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Smith, Kendra Schank. "A new view of architectural sketches." Diss., Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/22981.

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Ridgway, Sam. "Theorizing the construction of architecture." Phd thesis, Faculty of Architecture, Design and Planning, 2010. http://hdl.handle.net/2123/8801.

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Koliji, Hooman. "In-Between: Architectural Drawing and Imaginative Knowledge." Diss., Virginia Tech, 2013. http://hdl.handle.net/10919/50412.

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Design drawings mediate between the world of ideas and the world of things, spanning the intangible and tangible.  However, contemporary technical architectural drawings, in establishing a direct relationship between the drawing and its object, tend to base this relationship on a visual paradigm that authenticates the visible physical world over the conceptual invisible world, including that of the designer\'s imagination. The result is that the drawing may become a reduced utilitarian tool for documentation, devoid of any meaningful value in terms of a kind of knowledge that could potentially link the visible and invisible.
The imaginal drawing, assuming mundus imaginalis, is an ontological third world mediating between the invisible and visible worlds.  As such, it offers an alternative view of the architectural drawing. Inhabitants of this domain are subtle bodies that hold physical attributes (e.g. form, proportion, color), highly evocative, yet with no matter. Representing a world of similitudes, the imaginal is fundamental to the field of architectural representation, as it introduces a perspective in which the architectural drawing finds an ontological home, wherein the drawing becomes a true in-between territory, mediating between the invisible and visible. In this realm, the drawing becomes a subtle architecture in itself.
Prevalent Islamic geometric architectural drawings, namely girih, which lend themselves to the imaginal, provide clues by which the drawing is recognized as an in-between. The geometric interlocking patterns they feature, the girih mode, represent a creative agent by which the built transcends the physical world and penetrates realm of spirituality. An examination the girih mode in its intellectual, imaginative, and physical contexts re-identifies these geometric drawings as a productive realm of consciousness.
As an aperture to the imaginal, these architectural drawings open the door to a world of its own, wherein the drawing has a true subtle existence. In this view, the drawing starts from the domain of human imagination with the possibility of ascending to the realm of the intellect, while at the same time descending to the realm of the senses to guide the architect toward a built object. Seen this way, the imaginal drawing can offer an in-between state of being and becoming, a subtle matter, lighter than the building and denser than the idea"essentially representing a mode of consciousness involving the conscious imagination.

Ph. D.
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Mezughi, Mustafa M. "The integral role of drawing in architectural conception." Thesis, Glasgow School of Art, 1996. http://radar.gsa.ac.uk/4569/.

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Levy, Marshall Ira. ""A misreading of tropological space" : an investigation of Harold Bloom's theory of poetic transumption in the construction of a dialectical spece in architectural drawing." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22404.

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Wiggins, Glenn E. "Architectural drawing as designing and creating : a constructionist perspective." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12671.

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Zhang, Yimeng. "Chinese drawing, architectural poetics : traditional painting as a semantic representation of modern architectural design." Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/667320.

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This thesis is partly an attempt to explore the potential of pre-modern Chinese painting, on its distinctive formats and schemes to achieve spatial depth and time duration, as a way to interpret and design architecture. By a survey on changing modes of Chinese traditional landscape and cityscape paintings in different scales, the poetic language of painting will be gradually explored. Beyond pictorial techniques, language is concerned with an ideological level of understanding and experience. Thus, it signposts a wider significance of architectural representation – as a verbal medium to express narrative and critic semantics besides visual effects. In this thesis, we will also see how traditional painting remains a base in the ideating process of several contemporary Chinese architects, so to avoid a mere uncritical imitation of international models. A subtle fusion of contemporaneity with cultural identity afforded by the presence of taken concepts from traditional painting, allows this architecture to increase its meaning and dimension. Lastly, understanding such processes of ideation can possibly provide us assistance in the intuitive formulation of ways to enrich Western architecture. Particularly, establishing poetic connections to our cultural traditions can be a useful strategy to prevent Western architecture's frequent falls into empty excesses of utilitarianism, iconicism or simple banality.
Esta tesis en parte intenta explorar la capacidad de la pintura china pre-moderna en sus peculiares formatos y esquemas para lograr expresar la profundidad del espacio y la duración del tiempo, como una manera de interpretar y diseñar arquitectura contemporánea. Mediante un estudio de la pintura tradicional de temática paisajística y urbana, y a diferentes escalas, se analizará el lenguaje poético de la pintura china. Más allá de las técnicas pictóricas, este lenguaje se sitúa en un nivel ideológico de comprensión y experiencia; expresa, por tanto, una gama de significados más amplia que la mera representación arquitectónica, actúa como lo haría un medio verbal para expresar una semántica de tipo crítico y narrativo, además de los consiguientes efectos visuales. En esta tesis, también veremos cómo la pintura tradicional sigue siendo la base del proceso de creación de ideas de varios arquitectos chinos contemporáneos para evitar así una mera imitación acrítica de modelos internacionales. Una fusión sutil de la contemporaneidad con la identidad cultural proporcionada por la presencia de conceptos de la pintura tradicional permite a esta arquitectura ganar nuevas capas de significado y dimensión. Por último, comprender tales procesos de ideación puede brindarnos ayuda en la formulación intuitiva de formas de enriquecer la arquitectura occidental. En particular, establecer conexiones poéticas con nuestras tradiciones culturales puede ser una estrategia útil para prevenir las frecuentes caídas de la arquitectura occidental en los excesos vacíos del utilitarismo, el iconicismo o la simple banalidad.
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Books on the topic "Architectural drawing"

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Porter, Tom, and Tom Porter. Architectural drawing. New York: Van Nostrand Reinhold, 1990.

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Fraser, Reekie Ronald, and McCarthy Tony, eds. Reekie's architectural drawing. 4th ed. Amsterdam: Architectural Press, 1995.

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Reekie, Ronald Fraser. Reekie's architectural drawing. 4th ed. New York: Halsted Press, 1996.

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Ramsey, CharlesG. Architectural graphic standards. 8th ed. New York: Wiley, 1988.

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Institute for Cultural Policy (Hamburg, Germany), ed. Drawing indeterminate architecture, indeterminate drawings of architecture. Wien: Springer, 2005.

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Greenstreet, Bob. Architectural representation. Englewood Cliffs: Prentice Hall Inc., 1988.

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Kirkpatrick, Beverly L. AutoCAD for architectural drawing. Upper Saddle River, N.J: Prentice Hall, 1999.

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Jean, Gardner, ed. Cinemetrics: Architectural drawing today. Chichester, England: Wiley-Academy, 2007.

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Kakuzo, Akahira, ed. Contemporary British architectural drawing. London: Academy Editions, 1993.

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Azuchi, Minoru. Architectural marker techniques. Tokyo, Japan: Graphic-sha, 1991.

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Book chapters on the topic "Architectural drawing"

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Agudo-Martínez, María Josefa. "Drawing Without Drawing." In Architectural Draughtsmanship, 1099–107. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_87.

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Báez Mezquita, Juan Manuel. "Drawing in Architectural Research: Drawing in Paestum." In Architectural Draughtsmanship, 1247–58. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_98.

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Maria Papa, Lia, Giuseppe Antuono, and Francesco Pepe. "Perception, Drawing, Knowledge." In Architectural Draughtsmanship, 839–50. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_66.

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Arribas Pérez, Irma. "Put Drawing to Sleep." In Architectural Draughtsmanship, 467–77. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_36.

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Inglese, Carlo, and Luca James Senatore. "Traditional Drawing and “New Drawing”: Reflections on the Role of Representation." In Architectural Draughtsmanship, 671–85. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_53.

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Lastra Sedano, Alberto, Manuel de Miguel Sánchez, Enrique Castaño Perea, and Ernesto Echeverría Valiente. "Drawing and Mathematics. An Integrated Teaching." In Architectural Draughtsmanship, 405–15. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_31.

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Ippolito, Alfonso, Cristiana Bartolomei, and Carlo Bianchini. "Drawing of Carlo Scarpa’s Villa Ottolenghi." In Architectural Draughtsmanship, 577–90. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_45.

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Shaikh, Hamza. "Drawing Parallels: Architectural Drawing, Then and Now." In Drawing Attention, 6–9. London: RIBA Publishing, 2023. http://dx.doi.org/10.4324/9781003351740-2.

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Martínez Díaz, Ángel, and María José Muñoz de Pablo. "Drawing: Method and Conclusion in Architectural Research." In Architectural Draughtsmanship, 1433–47. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_112.

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Chiavoni, Emanuela. "Freehand Drawing: From Tradition to the Present Day." In Architectural Draughtsmanship, 757–67. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_59.

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Conference papers on the topic "Architectural drawing"

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Smith, Benjamin J., and Carrie Norman. "Representing Authenticity: Drawing an Aesthetic Pedagogy." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.92.

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At one time, authorship was derivative. From Quatremere de Quincy’s theories on type, to Jean-Nicolas-Louis Durand’s study of morphology, some of the earliest theoretical texts on architecture propose imitation as the common starting point for any process of artistic production. The following paper elaborates on a course co-taught by an architect and an historian on design’s relationship to the aesthetics of architectural production. The motive of the course was twofold: introduce architecture students to digital media and address concepts that influence representation, including intellectual foundations and rules of drawing. Conceived of as a series of six drawing assignments, the course problematized fundamental elements of architecture—not doors, windows, walls, balconies, and toilets, but form, image, and representation became the lens for production. Through these lenses, students tackled the stakes of architectural image-making to imagine the craft of drawing through methods of visualization. Students reconstituted plans, sections, and renderings of given source materials that included fifteen precedents spanning 2000 years of architecture’s history. While the conventions specific to architectural graphic standards remained intact, assignment objectives aimed to leverage composition, configuration, and copy as sites of invention to transform source materials. Weekly lectures addressing the aesthetics of drawing, supplemented by texts by architects and theorists, including Massimo Scolari, Robin Evans, Sonit Bafna, Sam Jacob, and John May, among others, situated students’ efforts within a discursive context focused on mobilizing drawings as communicative artifacts that reveal qualities of architecture. Viewing architectural history as an open-source canon, students proposed alternatives by confronting architecture’s past. Hovering between autographic and allographic subjects, architectural representation challenged the ethic of authorship as an artifact tethered, in equal parts, to repeatability and reproduction, as well as uniqueness and autonomy. Building off of discourse from aesthetic philosophy surrounding the copy and the fake, architectural drawings can be evaluated as devices to question intention and invention through pedagogy. The drawings from the class performed as both visioning and re-visioning tools, redrawing history, mobilizing referents, to make something new. Today, authorship is contingent.
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Jenkinson, L., Andre G. P. Brown, and F. Horton. "Architectural Design and Drawing." In eCAADe 1989: CAAD Education - Research and Practice. eCAADe, 1989. http://dx.doi.org/10.52842/conf.ecaade.1989.x.r9h.

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Vizioli, Simone Helena Tanoue, Joubert José Lancha, and Paulo César Castral. "Drawing and Surface: Freehand Architectural Drawing Mediated by Digital." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.35.

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Hwang, Cheng-Chun Patrick, and Yuk-yi Sukey Hui. "Exquisite Scrolls: Collaborative Drawing in the Space Time of Post-digital Representation." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.58.

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What is the function of architectural drawings, those drawn by architecture students that are conducive to learning? This paper discusses a pedagogical experiment generated from a series of collaborative drawings. The end goal seeks for a new agency, through a didactic platform and process exploring the visuality of the productive observation instead of the optical graphics of realism. Through the intermediary of the drawing in the present, the retrospective and prospective character of the design process can be explored. By reintroducing draw¬ing as a medium of thought, its power to project a clear and intentional inquiry can be revealed. Inspired by the Chinese scroll painting and the spirit of public drawing from the west, Exquisite Scroll is a collaborative hand-drawing exercise with a working method akin to the Surrealist game exquisite corpse. It is corporeal in nature and requires intellectual exchange between a multiplicity of authors. It is a negotiated act showing beyond what is observed. The thematic topics of urban historiography and architectural conservation are further explored through a ‘multi-temporal’ perspective, to look into the past and future in both space and time.
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Dayem, Adam. "Instruments of Invention and Intent: Evolving Pedagogy for Early Architectural Drawing." In 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.78.

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In discipline and practice, architecture works with conventions of perspective and orthographic projection inherited from the Renaissance. Perspective projections produce illusions that simulate vision, orthographic projections set out measurable dimensions that allow three-dimensional buildings to be con-structed from scaled two-dimensional drawings. These two modes of projection may seem to be at odds with each other, one emphasizing the art of architecture in qualitative illusory effects, the other emphasizing the technology of architecture in quantitative measure. But of course, many of the most com-pelling architectural drawings incorporate both the ‘art’ and ‘technology’ of architecture. This type of hybrid drawing, that is partly illusionistic and partly measurable,1 is particularly useful in imagining what a building could be without losing track of the measurements of the physical world in which it must exist.
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Hwang, Cheng-Chun Patrick, and Yuk-yi Sukey Hui. "Boullée’s Drawing Praxis and the Contemporary Speculative Practice." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.36.

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This paper examines the relationships between the drawing praxis of Boullée and the contemporary speculative practices. The modus operandi on drawing is discussed through the lens of ‘speculation’. Drawings are used to probe, anticipate, and to project his imagination of utopia, where the ‘thing’ of drawing and the idea behind it forms the vessel to the uncharted frontier on science and reason. Another type of drawing is embraced by practices emerged out of the post- Bilbao exuberance, a period after the completion of Gehry’s magnum opus in 1997 until the 2008 Recession. A tendency dominated by, and relied upon speedy image-making, and disseminated through social media for mass consumption. The appetite for architecture as images stemmed from two coinciding conditions. First, the explosion of emerging mar¬kets and its demand for building construction. Second, the widespread and ease of use of computational tools in creating architectural shapes and images. These practices are often associated with transnational architectural firms that are conjoined to the capitalistic preconditions. The production of the drawings in these practices are to elevate and enhance the potentiality of the property owners, investors or the State. The objective is not to advance a visionary agenda in the avant-garde sense of the tradition, but rather to visualize the speculative monetary return.
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Samoilov, V. V. "DRAWING OF ARCHITECTURAL COMPOSITION ON IMAGINATION." In Regionalnie arhitekturno-hudogestvennie shkoli. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-281-3-2020-1020.

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Samoilov, V. V. "DRAWING OF ARCHITECTURAL COMPOSITION ON IMAGINATION." In Regionalnie arhitekturno-hudogestvennie shkoli. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-275-2-2020-1020.

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Modesitt, Adam, and Carrie Norman. "OPEN HOUSE: Large-Scale Architectural Drawing as a Medium for Engaging Public Space." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.41.

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There exists ample precedent for artists engaging architectural subject matter in public work, often at the scale of buildings. The artist Richard Haas, for example, executed a series of large-scale murals illustrating architectural facades and interiors. [1] It is far less common however, for architects to deploy drawing as a medium for engaging public space. Since the era of Leon Battista Alberti, in which architectural labor divorced from con¬struction labor, the dissemination of drawings by architects has been primarily restricted to private commissions or internal trade publications. As Robin Evans famously noted, architects’ drawings are not a direct medium, but instruments in service of another medium to be executed by others. [2] Despite renewed attention to drawing among architects recently, architectural drawing still rarely engages the public realm directly. [3, 4, 5]
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Jin, Xin. "Crossing Landscape and Architecture: Embodiment of A-Perspectival Space in Wang Shu’s Oblique Drawings." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5027psugw.

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Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a technique that is based on the Cartesian coordinate system. First, through a literature review, this paper frames a salient aspect of Wang’s appreciation of the traditional Chinese landscape painting, namely the genre’s a-perspectival treatment of pictorial space. For Wang, the landscape painting embodies a culture-bound mode of “seeing,” which resorts to neither the illusionary perspective nor Cartesian metric space. Second, through case studies, this paper analyses the key aspects of Wang’s landscape painting-informed a-perspectival oblique drawings and his drawings’ critical implications. In his design for the Tengtou Pavilion (Shanghai, 2009-10), Wang creates nonrepresentational, immeasurable spaces with inconsistent projection fragments to evoke intended phenomenally boundless depth and transforms the technique into a collage device to prompt an architecture-landscape parallelism. In his sketch for the Lingyin Temple teahouse complex (Hangzhou, 2008-20), Wang doubles the modes of oblique drawing to attune the landscape painting and architectural projection and transform nature into built forms. By drawing on Wang’s case, this paper offers insights into how the standardised oblique drawing method can afford culturally grounded a-perspectival uses and how such critical adaptations could assist the architect to move across the ontological border between architecture and landscape.
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Reports on the topic "Architectural drawing"

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Benedict, N. B225 Architectural Drawings. Office of Scientific and Technical Information (OSTI), September 2022. http://dx.doi.org/10.2172/1890836.

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Hoang, Helen, Othniel Williams, and Annette Stumpf. Pattern language for a more resilient future. Engineer Research and Development Center (U.S.), October 2023. http://dx.doi.org/10.21079/11681/47700.

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The Department of the Army (DA) manages over twelve million acres of land for military use, and almost 138,000 buildings. Military installations and other US DoD operations contain architectural structures and civil infrastructure that require continuous improvements to resiliency. This includes resiliency in the form of protection against both natural and man-made disasters. This document seeks to identify multiple risks to infrastructure and people and encourages open dialogue for creative solutions. Designers and engineers as well as other disciplines can work together to achieve higher resiliency in both new and renovated work. The following sections are created to provide a starting guide, utilizing various tools to discover the best resilient design strategies for your building. This special report will argue for actionable design strategies; drawing inspiration from historical building forms, while also looking toward emerging technologies that should be further explored.
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Tutumluer, Erol, Bill Spencer, Riley Edwards, Kirill Mechitov, Syed Husain, and Issam Qamhia. Sensing Infrastructure for Smart Mobility—Wireless Continuous Monitoring for I-ACT. Illinois Center for Transportation, September 2022. http://dx.doi.org/10.36501/0197-9191/22-019.

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This report proposes a suite of wireless sensing solutions for continuous transportation-infrastructure monitoring. First, various traditional and modern sensors and sensing platforms are described in detail, based on their principles of operation, suitability for transportation-infrastructure monitoring, and issues concerning their use. Then, a suitability-assessment survey conducted to select suitable inter-sensor and sensor-to-cloud communication technology for lower bandwidth and higher bandwidth requiring sensors is presented. Important observations are made, and conclusions are drawn based on multidisciplinary analyses of strengths, weaknesses, opportunities, and threats (SWOT) of various communication technologies and proposed wireless architectures for sensing infrastructure for smart mobility (SISM). Finally, recommendations are made concerning the implementation of proposed wireless architectures for wireless and continuous monitoring of the Illinois Autonomous and Connected Track (I-ACT).
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Dolatowski, Emily, Burton Suedel, Jon Calabria, Matthew Bilskie, James Byers, Kelsey Broich, S. McKay, Amanda Tritinger, and C. Woodson. Embracing biodiversity on engineered coastal infrastructure through structured decision-making and Engineering With Nature®. Engineer Research and Development Center (U.S.), April 2024. http://dx.doi.org/10.21079/11681/48395.

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Extreme weather variation, natural disasters, and anthropogenic actions negatively impact coastal communities through flooding and erosion. To safeguard coastal settlements, shorelines are frequently reinforced with seawalls and bulkheads. Hardened shorelines, however, result in biodiversity loss and environmental deterioration. The creation of sustainable solutions that engineer with nature is required to lessen natural and anthropogenic pressures. Nature-based solutions (NbS) are a means to enhance biodiversity and improve the environment while meeting engineering goals. To address this urgent need, the US Army Corps of Engineers (USACE) Engineering With Nature® (EWN) program balances economic, environmental, and social benefits through collaboration. This report presents how design and engineering practice can be enhanced through organized decision-making and landscape architectural renderings that integrate engineering, science, and NbS to increase biodiversity in coastal marine habitats. When developing new infrastructure or updating or repairing existing infrastructure, such integration can be greatly beneficial. Further, drawings and renderings exhibiting EWN concepts can assist in decision-making by aiding in the communication of NbS designs. Our practical experiences with the application of EWN have shown that involving landscape architects can play a critical role in effective collaboration and result in solutions that safeguard coastal communities while maintaining or enhancing biodiversity.
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Young, Allison, Carey Baxter, Joseph Murphey, Karlee Feinen, Madison Story, and Adam Smith. US Air Force Academy Gallagher and Massey ranch houses : Historic American Buildings Surveys CO-237, CO-237-A, and CO-238. Engineer Research and Development Center (U.S.), June 2023. http://dx.doi.org/10.21079/11681/47190.

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The US Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. Section 110 of the NHPA requires federal agencies to inventory and evaluate their cultural resources, and Section 106 requires them to determine the effect of federal undertakings on those potentially eligible for the NRHP. The US Air Force Academy is located at the base of the Front Range within El Paso County. The US Air Force Academy has been used for training US Air Force officers since 1954. The Gallagher Ranch House and its associated garage, erected circa 1953, and the Massey Ranch House, erected 1941, are eligible for the National Register of Historic Places. This report documents the buildings to the standards of the Historic American Buildings Survey and includes a historic context, architectural descriptions, photographs, and measured drawings. This report satisfies Sections 106 and 110 of the National Historic Preservation Act of 1966 as amended and will be used by the US Air Force Academy for mitigation, allowing for the demolition of the three buildings.
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Cazdow, Lucinda, Martin Hearson, Frederik Heitmüller, Katharina Kuhn, Okagna Okagna, and Tovony Randriamanalina. Inclusive and Effective International Tax Cooperation: Views From the Global South. Institute of Development Studies, August 2023. http://dx.doi.org/10.19088/ictd.2023.046.

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In 2023, demands for the United Nations to take up a larger role in global tax governance are louder than ever before. Nevertheless, there is not yet a global consensus on the way forward. In this paper we investigate how the United Nations (UN) could create a more inclusive and effective space for international cooperation. We define the current governance architecture as an ‘international regime complex’, emphasising the fact that several institutions govern international tax cooperation, without there being a hierarchy between them. Based on evidence drawn from interviews with 33 government officials (mainly from lower-income countries) conducted from May to July 2023, and from literature reviews on global governance arrangements in other policy areas, we discuss what role the UN could take in this international regime complex.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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Premises - Savings Bank of NSW - Head Office - Barrack St - Architectural drawing of Proposed Head Office - c. early 1900s. Reserve Bank of Australia, September 2023. http://dx.doi.org/10.47688/rba_archives_pn-016332.

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Premises - Savings Bank of NSW - Head Office - Barrack St - Architectural drawing of Proposed Head Office - c. early 1900s. Reserve Bank of Australia, September 2023. http://dx.doi.org/10.47688/rba_archives_pn-016331.

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